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Off Broadway

Audible Theatre’s Long Day’s Journey Into Night Finds Sizzle in its Shortening

Audible Theatre’s Long Day’s Journey Into Night Finds Sizzle in its Shortening

This operatically gifted play, one loved by many, is one I had vowed to never see again. In all honesty. Not because I don’t believe it to be a formidable masterpiece, one with grand illusions, high theatrics, and opportunities for magnificent performances from almost every angle, but I just don’t think I can do it again. After watching the latest Broadway revival in 2016 starring Jessica Lange, Gabriel Byrne, and Michael Shannon, and the revival that was shipped over from England to play at BAM in 2018 starring Jeremy Irons and Lesley Manville, I thought to myself, quite clearly, this has to be the last time. Blasphemy, I know.

Bill Camp in ‘Long Day’s Journey Into Night.’ (Photo: Joan Marcus)

Even when superbly done, and those two were superb productions, the play can be a slog, sometimes succumbing to boring repetition. It seems they just repeat and repeat the same rounds of attacks on one another, scene after scene.  It’s a deafening game, attack and retreat; attack and retreat, leaving them all so badly bruised from the same old sharp repeated stabs that we, sometimes, feel as battered as the characters on stage. We can totally relate to their frustration. We also become aware, that they simultaneously also want to protect and show affection when opportunities present themselves; mostly when they are feeling insecure and in need.

That insecurity happens often in Eugene O’Neill’s famous “play of old sorrow“. They need each other even when attacking. But here, sitting at the cozy Minetta Lane Theatre holding tight onto my theatrical optimist card, pleading with the theatre gods to not prove me misguided, I held on, as I had made a bargain with myself. If they could succeed and find a way to condense this tense tragedy into something more digestible, then I was in. Or at least willing to give it another solid try. And when I heard that they had edited the overly long masterpiece into a two hour, one-act play, taking place over just one summer day, the day that the family realizes Mary, the mother, has relapsed and the youngest son, Edmund gets his upsettingly bad news diagnosis, I gave in, and thought, wisely or not, I should be game to give it a go. And boy, am I (mostly) glad I did.

Photo credit: Michael Creagh for Bill Camp, Stefan Ortega for Elizabeth Marvel, and Maura Hooper for Ato Blankson-Wood

The blame game at the heart of this drama flies strong and clear in this Audible-produced version directed with a tight grip by Robert O’Hara (NYTW/Broadway’s Slave Play). The slicing block to make it a one-acter has required many a daring adjustment, focusing in on the action and collapsing the time frame down to something more manageable and forceful. The drama is more condensed, taking us through in, what would be called, a quick two hours (for anyone who has a familiarity with the play, that is a feat). They have contemporized the setting to 2020 and placed it most solidly inside a lockdown and a pandemic. The idea sizzles inside our soul, making us excited to see how it adds flavor to the mass, and although never completely justified, the ideas and slant haven’t hurt the fundamentals of the play. The morbid poetry still plays out, even amongst the eliminations and the piles of unnecessary Amazon boxes and Clorox wipes strewn around the room. (It really felt a bit too commercialized, Audible, I must say.)

Fascinatingly, the modern setting doesn’t give the hours much more depth. It does give it some clarity through a few different lenses, and with O’Hara’s colorblind casting the formulations carry different points and angles that accentuate the complicated arrangements that all four have been living within. The disappointment and angry resentment of one another hang heavy on that stage, designed with an overzealous flair by Clint Ramos (Broadway’s Grand Horizons), who is also credited with the costuming, with lighting by Alex Jainchill (Off-Broadway’s Mankind), and a weird but wonderful sound design by Palmer Hefferan (Public’s Wild Goose Dreams). As it should, and the actors find a complementary engagement with each other that feels fresh and alive, even as they discuss the darkness and anger in a dope fiend’s curse. But it doesn’t always deliver, much like many an Amazon order.

The cast of four unpacks enough evidence that this tearing apart of the original text does the job, even when flailing and faulting. Bill Camp (Broadway’s The Crucible) finds a fierce fury in his masterful approach to James, with Elizabeth Marvel (Broadway’s King Lear) unleashing her own deconstruction with epic fortitude. The two together are expert fencers, finding surprise and disappointed frustration inside the simplest of stabs. The two sons; Jason Bowen (PH’s If Pretty Hurts) as the louder than typical James Jr., and the wonderful Ato Blankson-Wood (LCT’s The Rolling Stone) as the weakened Edmund, also find their way, but the kids are left a little out of the loop in the reinvention, never really given as much to work with inside the text, and never really given as much meat to chew on within the family

The drama of the Tyrones was one that was barely disguised from the playwright’s own, giving us a secret view inside of a troubled past. It’s a pretty infectious playwright formulation; a family fueled by repetitive drunk accusations and self-delusions ignited by insecurity and anger, pushed forward by addiction and disease. No one is really there for one another, even when they pretend to care and are in need. The modernization rampages that energy forward, bringing the four together for confessions of troubling truths, and then dutifully letting them tear into the other with gusto.

The equating of Edmund’s tuberculosis to COVID and Mary’s addiction to the modern-day opioid crisis strains the structure a bit but ultimately maps, but in regards to the connections with their sons, the modernized text leaves the two young men a bit left out, with not as much to engage with. It’s a shame as both Bowen and the wonderful Blankson-Wood unearth interpersonal connections to each other and their parents that glisten with anticipatory glee, and the conflictual dynamics are both new and insightful. But as the play progresses to its fatalistic end, the rewrite hits some snags that don’t register as well, especially around the family’s medical issues, leaving us accepted some holes, mainly because we want this condensed version to work.

The thematic focus on Edmund in the latter half, and his precarious emotional, physical, and mental health, don’t hold us as tight as his parents’ complicated dynamics. The brothers come together but as Jamie steps his support away from Edmund, the production falters, feeling a bit lost in the mist and fog. O’Hara seems to know more about James Sr. and Mary’s tense engagement than what is to be done with the sons’ involvement in the finale, despite the hard work Blankson-Wood and Bowen attempt to deliver.

Some of the design ideas heighten the emotional choices made. Showering the walls with projected visualizations of skeletal half-corpses and psychedelic graphics work a certain type of magic, helping us dive into the world of addiction and drug use, thanks to the fine visual work of projection designer Yee Eun Nam (BayStreet Theater’s Frankenstein), and although the projected artwork seems to be from another world altogether, the more abstract constructions are a relief to the nonstop bullying that is going on downstairs.

Had I made the right call? Yes, most assuredly. The cast is determined and wonderfully inventive, especially as they don’t accept the tried and true arrangements of this family. They have found a new way of seeing through the fog, and for that creative engagement, I am eternally grateful. It reminded me of the tense complications that exist in this masterpiece. Now, will I ever watch another full-length production of Long Day’s Journey Into Night, I’d like to say no, but I have a feeling my optimist call will draw me back into the fog, one more time, and then another.

From left, Ato Blankson-Wood, Bill Camp, Jason Bowen, and Elizabeth Marvel in Audible Theater’s ‘Long Day’s Journey Into Night.’ at the Minetta Lane Theatre. (Photo: Joan Marcus)

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Off Broadway
@#frontmezzjunkies

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

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